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Country - Released April 17, 2020 | Mailboat Records

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Country - Released April 17, 2018 | Mailboat Records

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Pop - Released April 3, 2020 | Mailboat Records

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Country - Released May 8, 2020 | Mailboat Records

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Country - Released May 22, 2020 | Mailboat Records

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Country - Released July 13, 2004 | Mailboat Records

Early in the 2000s, Jimmy Buffett experienced one of his periodic revivals thanks to the legions of contemporary country singers indebted to his sunny, relaxed party music. His influence had been bubbling under during the latter half of the '90s, but in 2003 he suddenly was front and center, performing a duet with Alan Jackson on the "Margaritaville"-styled smash "It's Five O'Clock Somewhere," while echoes of his music were clearly heard in country's first superstar of the new millennium, Kenny Chesney. Never one to miss an opportunity -- or, as he puts it in the liner notes, "not being one to let a cultural phenomenon pass me by like a misguided comet" -- Buffett decided to go the whole hog and record his own country album, License to Chill, for the summer of 2004. He calls in a lot of favors here, drafting Jackson, Chesney, Toby Keith, Clint Black, George Strait, Martina McBride, Nanci Griffith, and, for a change of pace, Bill Withers, for duets on this generous 16-track album. Usually, such a surplus of guest stars overwhelms the main artist, but that isn't the case here, since everybody bends to fit Buffett's style instead of the reverse. These guests not only give Buffett a straight man for his jokes, but also help focus his musical direction and song selection, since it all feeds into the album's sun-kissed contemporary country direction. Musically, this isn't all that far removed from either his early-'70s work or "It's Five O'Clock Somewhere," which is hardly a surprise, but what is surprising is that it's one of the most enjoyable latter-day albums from this notoriously inconsistent artist. There are still some overly silly, even embarrassing moments, such as the frequent tossed-off puns and the cringe-inducing "Simply Complicated," but these are the exceptions on this cheery collection of laid-back country-rockers and beach ballads. Again, the difference on License to Chill isn't the music, but the consistency of the songwriting and the performances, resulting not only in Buffett's strongest record in years, but an album that sits comfortably next to that new Kenny Chesney album, and that means he accomplished exactly what he set out to do. © Stephen Thomas Erlewine /TiVo
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Pop - Released June 28, 2017 | Mailboat Records

Although Jimmy Buffet has never enjoyed tremendous record sales throughout his career, his concerts are always guaranteed sellouts. Buffett's rabidly loyal, often drunken, fun-seeking fan base, the parrotheads, are in no small way responsible for this fact. Buffett Live: Tuesdays, Thursdays, Saturdays tries to capture the essence of a live Buffett concert from the late '90s. This live set gives fans a handful of '90s Buffett tracks as well as many classics that have become staples of his live shows. Listening to tracks like "Fruitcakes," "Coconut Telegraph," and the fan favorite "Fins" (complete with Jaws theme music) you can't help but feel Buffett has brought the crowd to a place where they are having a great time and no one has a care in the world. This is a goal Buffett has always tried to provide for his fans, and he has almost always succeeded. Some of the strongest tracks presented here are "Trying to Reason with the Hurricane Season" and a cover of Crosby, Stills & Nash's "Southern Cross," which features gorgeous backing vocals provided by members of Buffett's Coral Reefer Band. Parrotheads who may feel they have heard most of these tracks on earlier live releases will be happy to hear "Margaritaville" -- complete with the lost verse -- and every longtime fan will love hearing Buffett dusting off the obscure classic "Tin Cup Chalice." This collection is a nice addition to the collection of a casual fan who already owns and enjoys Buffett's classic Songs You Know by Heart. Buffett's music may not change the world, but it certainly makes it more fun and for a sun-drenched, alcohol-soaked good time you still can't beat Jimmy Buffett. © Paul Tinelli /TiVo
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Rock - Released September 6, 2011 | Mailboat Records

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Pop - Released January 1, 1987 | Geffen*

Although Jimmy Buffett has written story-songs before, he prefaces an interest in writing real fiction in his songs on Somewhere Over China, and he shows himself with book in hand on the back cover, printing a quote from William Faulkner below it. "If I Could Just Get It on Paper" reflects this ambition, but also acknowledges how hard that is to do. Buffett also aspires to travel, as ever, and even farther than in the past, not only to China, as the title song reveals, but even into space. That said, returning is still a big issue for the author of "Come Monday," who is no longer struggling with getting back from the road to a loved one, but instead is sneaking back home and wandering around like a ghost in "I Heard I Was in Town." Like all of his post-"Margaritaville" output, Somewhere Over China is an uneven collection with a few good songs that confirm Buffett's talent as a songwriter remains when he chooses to exercise it and not just settle for something he or one of his backup bandmembers comes up with on the fly. © William Ruhlmann /TiVo
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Pop - Released January 1, 1985 | Geffen*

Combining aloof humor with a laid-back, devil-may-care island attitude, Jimmy Buffett sang songs about alcohol consumption, lazing around in the sun, and the freedom of not having to work for a living. Songs You Know By Heart is a solid offering of Buffett's greatest hits, pulling together his truly strongest material and avoiding the unnecessary filler that appears on his albums. His claim to fame, "Margaritaville," is the jewel in the crown here, which still harbors that tropical feel thanks to its Caribbean-styled rhythm and relaxed flow. "Come Monday" picks up where "Margaritaville" leaves off, only this ballad plays out with subdued sincerity and has Buffett sounding strangely serious, and romantic. Most of the songs from Buffett are centered around his frolicking lifestyle, like the comical "Cheeseburger in Paradise" or the naughtiness of "Why Don't We Get Drunk," an ode to his party-filled outlook on life. Buffett's voice shines on the clever "Changes in Latitudes, Changes in Attitudes," which again spotlights his love of living without concern, especially in someplace warm. The catchy and whimsical "Fins" is lifted by a contagious pace with a smart chorus and serves as one of the highlights of this collection. As a compilation, this bunch of Jimmy Buffett's most famous tunes contains just the right amount of tracks. Any less would be inconsistent and any more would be deemed as overkill. © Mike DeGagne /TiVo
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Pop - Released January 1, 1987 | Geffen*

In a sense, Jimmy Buffett has succeeded by inventing his own audience rather than addressing an existing one, carving out a hybrid style that is true to his Mobile, AL, roots with a musical style mixing pop, folk, and country with Caribbean elements and a lyrical persona as an easygoing Gulf Coast layabout addicted to sunshine and alcohol (with a few drugs thrown in). Since his breakthrough with "Margaritaville" in 1977, he has enjoyed four consecutive gold or platinum albums. If Coconut Telegraph continues that sequence, it won't be because he has fiddled with the formula. This is another collection of songs mostly written by Buffett and his friends (including Mac McAnally, J.D. Souther, and Dave Loggins) that continue to extol the lazy wonder of living well lubricated in tropical climates. To a certain extent, Buffett seems to acknowledge that he is selling a fantasy, in "Incommunicado" (which he wrote with Deborah McColl and M.L. Benoit) referencing the Travis McGee character in John D. MacDonald's mystery novels and John Wayne's portrayals in the movies. But he also gets across the implied arrogance of his stance in McAnally's "It's My Job," in which the songwriter defends himself as "better than the rest." That aspect is soft-pedaled, however, lest it be off-putting. Most of the time, Buffett is playing things for laughs in songs with titles like "Growing Old But Not Up" and "The Weather Is Here, Wish You Were Beautiful." That's just how his large cult likes things, and Coconut Telegraph was made to service them. © William Ruhlmann /TiVo
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Rock - Released November 17, 2017 | Mailboat Records

Buried Treasure, Vol. 1 brings to light a demo tape Jimmy Buffett recorded for Nashville producer Buzz Cason in Mobile, Alabama and Nashville in 1969. Buffett forgot about these tapes, and so did Cason. They were discovered by engineer Travis Turk when cleaning a closet and, intrigued, Buffett decided to put out 11 of the best songs as Buried Treasure, Vol. 1. These recordings do showcase a nascent talent, one who is admittedly in thrall to Gordon Lightfoot. At times, he can also sound a little bit like Bob Lind ("The Gypsy") and he also dipped his toes into pure country-rock ("Abandoned on Tuesday"), but most of this features a singer/songwriter alone with a guitar, figuring out his own voice, and it's fascinating for that. © Stephen Thomas Erlewine /TiVo
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Rock - Released March 31, 2017 | Mailboat Records

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Pop - Released January 1, 1977 | Geffen*

One reason why Jimmy Buffett's sixth album, Changes in Latitudes, Changes in Attitudes, is his best record yet is simply the sound. Buffett's move from Don Gant, who produced his last four albums, to Norbert Putnam is a serious upgrade. Putnam, a bassist by trade with a talent for string arranging, specializes in working in Nashville with artists who don't quite belong in Nashville. His production of Eric Andersen's Blue River resulted in a masterpiece, and he's done quality work with the likes of Joan Baez, Neil Young, and Dan Fogelberg, creating a country-pop sound that achieves the crossover such artists crave. Putnam is a perfect fit for Buffett; he gives the music the polish Buffett's always needed. But that only explains the reason why the album works so well sonically. The main reason it's Buffett's best is the songs, most of which he wrote. Buffett has always been a good songwriter when he had the time to apply himself, and he's been developing a persona that reaches its culmination here. Or, it might be said that the persona takes a logical next step. Buffett's alter ego is something of a screwup, a guy who's on the road, sometimes defined as a traveling musician, and who fuels himself on liquor and recreational drugs. He wants to get home to his loved ones, but he's actually not in that much of a hurry to do so. The guy who sang "Come Monday" in 1974 ("I just want you back by my side") has evolved into someone who's been on the road so long that he and his pals "Wonder Why We Ever Go Home." He may, as he claims, "Miss You So Badly," but he also acknowledges, "The longer I'm gone the closer I feel to you." When he is at home, he is clearly at loose ends, and this is where Buffett's observations are most acute, as he leads off the LP's two sides with its two best songs. The title tune finds him world-weary yet ready to head off again. "If I wasn't crazy I would go insane," goes the chorus. And the culmination of it all comes on the irresistibly catchy, completely self-deprecating "Margaritaville," a guitar-strumming beach bum's declaration of purpose (or purposelessness). He can't remember how he got a new tattoo, he has cut his foot on the "pop top" of a beer can, and his heart seems to have been broken some time in the past (he doesn't seem to remember all that well), but soon his blender will finish stirring up his favorite drink and all will be well. The song is an anthem for the Buffett character and likely to prove an archetype. © William Ruhlmann /TiVo
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Pop - Released January 1, 1974 | Geffen*

Before Jimmy Buffett became a novelist, entrepreneur, and founder of a business empire, he was a prolific singer/songwriter and a great storyteller. In the song "Migration," which chronicles his failed first marriage and his subsequent move to Florida, he sings "I got a Caribbean soul I can barely control and some Texas hidden here in my heart." This perfectly describes the music of Jimmy Buffett, who incorporates steel drums, harmonica, and slide guitar to tell stories about life by the sea. While many of the songs for which he is famous involve a life of leisure told with a keen sense of humor, Buffett is more thoughtful than your average beachcomber. In fact, the best moments on this album are the slower tunes such as "A Pirate Looks at Forty" where a reflective Buffett looks back at his lifelong love of the ocean and his place in the universe. A-1-A may be Buffett's most autobiographical album, as he sings about making music on his own terms in the opening up-tempo "Makin' Music for Money" and tells stories of his idyllic childhood in "Life Is Just a Tire Swing." As with most of Buffett's work, his stories convey the importance of enjoying life, living free, and doing as you please. This is one of Jimmy Buffett's classic '70s albums that established his persona, and it is a perfect introduction to his music. © Vik Iyengar /TiVo
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Pop - Released January 1, 1974 | Geffen* Records

With his second album, 1973's A White Sport Coat and a Pink Crustacean, Jimmy Buffett broke into the country LPs chart, courtesy of a minor hit single, "The Great Filing Station Holdup." That would seem to mark him as a promising up-and-coming country artist, with his third album, Living and Dying in ¾ Time, the next step. But Buffett exhibits an ambivalent attitude toward his career and the music business in general in the LP's songs, most of which he wrote. In fact, the best of them is "Come Monday," a melancholy ballad about being on the road and missing a loved one. "I spent four lonely days/In a brown L.A. haze/And I just want you back by my side," he sings plaintively. That theme has been explored so much by songwriters that it's hard to find a new way to go at it, and Buffett's success is indicative of his writing talent. He devotes that talent largely to talking about how much he dislikes Nashville, notably in such songs as "Brand New Country Star" (co-written by Vernon Arnold) and "Saxophones." In the former, he castigates a product of Nashville equally capable of going country or pop (which is odd, since he himself is hardly a traditional country musician), while in the latter he complains that he can't get radio play in his hometown of Mobile, AL. It may be that Buffett is determined to make it only on his own terms, and that those terms are more those of Texas singer/songwriters like Jerry Jeff Walker and Willis Alan Ramsey (whose "Ballad of Spider John" he covers here), or Gulf Coast blues artists like those he praises in "Saxophones," than of conventional country musicians. That's fair enough, but it makes it hard to complain that you're facing resistance. © William Ruhlmann /TiVo
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Pop - Released January 1, 1978 | Geffen*

After his debut with 1970's Down to Earth, Jimmy Buffett released an album a year from 1973 to 1977, culminating with his commercial and artistic breakthrough, Changes in Latitudes, Changes in Attitudes, which apotheosized his beach-bum persona in its hit single "Margaritaville." A year later, he's back with his seventh album, Son of a Son of a Sailor, but things have changed. Now, Buffett has a high-profile manager in Irving Azoff (who is dressed like Napoleon in the high-fashion photo spread across the gatefold of the LP), and as his smiling, well-upholstered image on the cover shows, he's not a beach bum anymore; now he looks like the happy owner of a yacht. Accordingly, he isn't writing songs like "Margaritaville" anymore, either. The closest approximation to that is "Cheeseburger in Paradise," which might as well be a commercial jingle for a fast-food chain. The locus of the songs still tends to be in the Caribbean, the characters still lowlifes, but the personal touch is missing. Buffett is writing fiction now, and the edge is off. Having achieved the perfect expression of his world-view the last time around, and profited handsomely as a result, he is now no longer funny in a self-deprecating way that makes his songs touching. He was never one to take himself too seriously, but now he's veering toward self-parody. © William Ruhlmann /TiVo
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Pop - Released January 1, 1996 | Geffen*

Banana Wind is typical latter-day Jimmy Buffett. Over a laidback, Caribbean-inflected folk-rock, Buffett waxes eloquent over boats, booze, sun, and women. Although the sound of the album certainly is pleasant, there's not a single distinctive song on the record, which means it's good for Parrotheads, but casual fans should let this Banana Wind sail on by. © Stephen Thomas Erlewine /TiVo
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Pop - Released January 1, 1979 | Geffen* Records

After breaking into the mainstream with his hit "Margaritaville" two years earlier, Jimmy Buffett stuck to his formula of mixing fun, up-tempo songs with slower, reflective ones. Although the album contains concert favorites including the playful "Fins" and the Caribbean-flavored title track, it seems as if Buffett doesn't have as many deep insights to share on this release. The vocal help from James Taylor on "Treat Her Like a Lady" adds to the singalong chorus, but overall the ballads are uninteresting. As a result, this album marks a low point for Jimmy Buffett in a decade in which he delivered one solid album after another. However, Volcano is notable for its inclusion of a wonderful children's song ("Chanson Por les Petits Enfantes"), complete with nursery rhyme lyrics. This album is for Parrotheads only, as most of the popular tracks are available on compilations like Songs You Know By Heart. © Vik Iyengar /TiVo
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Pop - Released January 1, 1973 | Geffen*

While it still lies much closer to Nashville than Key West (like in the boisterous slide guitar solo that lights up "The Great Filling Station Holdup"), Jimmy Buffett's A White Sport Coat and a Pink Crustacean does begin to delineate the blowsy, good-timin' Key West persona that would lead him to summer tour stardom and the adoration of millions of drinking buddies everywhere. "Why Don't We Get Drunk," "Railroad Lady," and "Grapefruit -- Juicy Fruit" rightly became crowd pleasers. But Buffett reveals himself a storyteller with the touching sigh of "He Went to Paris," where a slide guitar appears again to lend a subtle gleam to the arrangement, or in the gorgeous, sweetly sad tale of a passed-away poet's unlikely posthumous success. It's in this wide-eyed honesty, as well as the winking sarcasm of the scrambling honky tonker "Peanut Butter Conspiracy" -- "We never took more than we could eat/And we always swore if we ever got rich, we'd pay the mini mart back" -- that Buffett's flair for easygoing accessibility really emerges. White Sport Coat has to be considered country and western music; its rambling acoustic guitars, twinges of harmonica, fiddle, and peddle steel will do that. But Buffett himself was a Nashville outcast almost from the beginning, and his southward migration began with this album. "I don't want fame that brings confusion," he sings in "My Lovely Lady," and declares his desire to get out of the Music City rat race for the more temperate climes and crab meat of the Florida Keys. Once there, the songwriting ingredients drifting through White Sport Coat and other early LPs caught the Caribbean breeze and really took off. This is highly recommended for Buffett completists and those interested in his more introspective side. © Johnny Loftus /TiVo